Christopher Kane @ London Fashion Week S/S10

The inevitable hype and hystericism at Christopher Kane’s shows always strike me as misrepresentative of the generally soft-spoken and humble Scottish designer. But where his presence may be unassuming, his work impetuously commands attention. Starting with skintight neon three years ago, Kane has turned out a string of critically praised collections, but this season’s marked his complete evolution from the physical to the cerebral.

While esoteric leanings have been the death of many designers, Kane has maintained industry appeal by making the transition in baby steps. From his sophomore collection of seductive gothic leather and velvet, the designer slowly moved towards the enigmatic with a whimsical urban cowgirl followed by a prehistoric sci-fi warrior. For S/S10, he arrived at oversized gingham plaids, embellished sleeves, bra cups, androgynous suiting and perversely split skirts. The slightly unsettling, melancholic collection was reminiscent of rural ’50s Americana fused with the horror film Carrie, meaning violent tendencies and aberration seemed to patiently lurk under its overtly pretty, sunny surface. But considering Kane’s central references were the Jonestown cult suicides, Nancy Reagan and Lolita this makes sense, turning what otherwise might seem a mad potpourri into something sane, which is perhaps the best measure of the designer’s intentions—and success.